There is a very specific moment in life when there are those who still worry about finding an antidepressant that does not affect their libido. At that exact point are several of the main characters of Fleishman is in trouble. So concrete and raw is the story of this Disney+ miniseries that in a few weeks it has hypnotized a small army of viewers, inevitably questioned by the succession of crises of its protagonists. It is the niche series of the season.
The initial premise of the story centers on Toby Fleishman (played by Jesse Eisenberg), a doctor with an idealistic vocation recently divorced from Rachel after 15 years together. She’s a workaholic theater agent obsessed with success and social advancement in a cutthroat Manhattan who thinks more about escapades in the Hamptons than her own everyday happiness. But one night she disappears, leaving her two young children in the care of her ex-husband. Chaos sets in for a man who has spent weeks trying to reconstruct his life using the novelty of dating apps and the comfort of past affinities.
The series is especially inspired when it expands on the dialogues loaded with context and naturalness between Toby and his two lifelong friends, Libby (Lizzy Caplan) and Seth (Adam Brody), recently reunited after something so normative and at the same time As rupturist as marriage is, it has separated them for years. The trio, in that lethargic state of someone who has just entered their forties without being fully aware of having left their happy twenties, is the polytonic voice of a generation.
As in the novel by Taffy Brodesser-Akner, whose script she herself adapts into eight episodes, the viewer needs patience to discover the semi-hidden discourse in the little great odyssey of a character who, at first, seems only to update some well-known literary icons. and cinema that need not be named: that of the neurotic New York Jewish heterosexual man. The great twist in the script consists of taking the point of view from the supposed protagonist. Fleishman is in trouble gives clues to this when he chooses an external and feminine voice as the narrator, that of Libby, a writer, the alter ego from the author of the text herself, turned without knowing very well how into a suburban housewife who lives fascinated by the recent life change of her friend, the good doctor.
And, after the brilliance of Lizzy Caplan, Claire Danes reappears in a notorious and transcendent chapter 7, embodying the wife on the run who during the first installments appears only as the memory of a bitter breakup process. With the same talent with which she raised Homelands to the altars of the peak tvthe actress gives infinite nuances to this portrait of middle age and a middle class whose aspirational nature is its own condemnation.
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